Theatrical impetus derives primarily from three sources: Mexico, Cuba, and Puerto Rico. Chicanon theatre, in the West/Southwest, Cuban-American theatre, mostly in New York; and Nuyorican, which was heavily Puerto Rican. Spanish-speaking theatre antedates English-speaking theatre. Nicolas Kanellos indicates the first recorded performance in a Spanish mission (1567). Early theatre was often seen as a biblical narrative, most notably being Las Pastorelas. In 1910 revolution broke out and several thousand Mexicans came North. Including multiple troupses, a touring performance group. Over the years, one well known group prevailed in San Antonio - La Compania Dramatica de Carlos Villalongin. During the Great Depression, theatres were also used by labor unions to strike and speak their protests. In 1965 Luis Valdes became well known for using theatre to speak out in politics. He eventually founded El Teatro Campesino. Other big theaters cropped up too: The Teatro de la Esperanza and Teatro Bilingue. From this spike, the TENAZ was created. Many real world depictions such as Zoot Suit and Vendidos alongside several women playwrights such as Estela Trambley opened up conflicts the Chicano community faced. Alongside this, Tampa became the site for the only Hispanic Federal Theatre Project. Now, newer playwrights write their works in English and Spanish and to deal with bilingualism, the generation gap, and other themes pertaining to life in the U.S.